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I was jumping out for an hour and a TD and today I'm going to talk to you about
using multiple Speedlites
to gain a lotta best Adorama TV presents
photo on the go pic Joe McNally for you go behind the scenes to see how great
photos army
hi this is coming only for an hour I'm a TV
and today I'm going to talk to you about using multiple Speedlights to do a
portrait has a lot about
stop okay so ahead
beautiful sky right and fair manner available a
so probably not going to get there it's going to be a struggle with one
Speedlite
so what I did in this particular situation is I used to try flash
which gives me a lot of power you know for speedlights 3 flashes all at once
all running on TTL and then I a pump them through a3 by 3 Lastolite Skylight
diffuser panel
and that is a a relative to a single person which I have as my subject that's
a big beautiful light source
hi Joe McNally here for Adorama be sure to check out at around his latest
contest to win prizes
so in this instance here out in the fields
love the open RAW area Iceland I've got great sky and all that stuff up in here
I have all lovely model like right here okay so what I did was my camera angles
right about here
okay I brought in assisstant
and I projected this three by three panel
right into here okay right there so it's
relative to my subject a very big light source then I took a separate stand
and it's just a simple request an odyssey stand brought it up in here
and I used a try flash so here I have
three different flashes okay sb-900
right and their mount triflash which
is a ratcheting track flash which is nice
because it means that you can move your
light sensor panels that are on the SP speedlights
all in a corporate direction so they can also I'm not a Nestle
see the line aside delivery or the polls
from the commander flash that's on the hot shoe over by the camera so
this is a good device to try to or HR flashes in a coherent direction
for line aside operation also a nice way just to make sure you got three
speedlights pumping through
a nice light source to give you that f/stop: I shot this pictured f13
so hence I have allotted up the field because I want to retain that the field
obviously
for the model's face and hair and all that but also party the beauty the
pictures
all out there in the fields in the beautiful sky I want saturation in the
sky
are so one detail in it hence the big *** that this is Joe McNally for at
around a TV
thanks for stopping by for this deconstructing video I'm using multiple
speedlights
to gain a big f/stop:
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